The discoverers of abstract painting

[LCR]

The plot of Picabia: http://forum.artinvestment.ru/showth...d=1#post912031

[Маруся]

Сообщение от Vladimir

And here Mondrian?

Mondrian - a remarkable artist, whose art criticism in the West was considered to be the ancestor of gemetrichessky abstaktsii. Contemporary Malevich.
Confess Chesney, its colored squares like me much more. Therefore I ask LCR write about it the plot.

[sini4ka]

Maybe it will be interesting this link:
http://users.livejournal.com/_corso_/194565.html
Scans from the catalog later manuscripts Apocalypse (Archive of Pushkin House)

[Сима]

sinitza, I do not agree with your Frendo. avant-garde did not go on this, of course. He seemed medievalist biased. Presented "late master of the Apocalypse" very inventive, but stylistically and also figuratively - within lubok. Fine, of course, fulfilled, because splint, after all, painted coarsely. Larionov and Goncharova period "everythingness" This styling is widely used, like any other primitive, but a short time. And then they do not abstractionists, whatever one. Rayonism Larionova - a futuristic refinement (finding), but not actually "abstract".

[sini4ka]

Seema
I do not think Levon Vazgenovich claimed it seriously. I thought he ironically wrote. Of course, you're right, splint striking, but the first picture and the "Fall of Babylon" simply suggest, on the forefront. Scans at least curious.

[Vechnost]

Сообщение от LCR

Hahahahaha, I do not dispute.
But whether I may be formulated as: "among pervoprohodchikov were not only Russian?

Then Kupka same Hlava, so that asleep calmly, Slavic hegemony he not threatens

Exploring the history and theory of the world of fine art, philosophy, universe, E. Saran said that abstract art in art one: neither Russian nor Jewish, nor the Chinese are not opened. He appeared with the advent of man on planet Earth. Creator (nature) has given man the ability to think. Abstracting from the empirical vision of the world, people began to think, to express their thoughts and in fine arts. Let me offer a few remarks ...


Abstract. Some types of abstraction in art.
Author: Evg. Sarana

Abstract - early (the motion of dark matter ... Thoughts) and himself the creative process of finding and creating - the idea of the creation of ideas.

Thought (the motion of dark matter) - is material, for it has no obstacles, it is instantly transferred to any place in the universe. Yes, and the Universe itself is the Absolute (0 +1 +2 +3 +4 +5 +6 +7, etc.) has an abstract entity.

Man in Universe created as personality possessing ability abstractly think, his essence - search and creating new Ideas. He is directly involved in the creation of Light. Light - is the part of the universe where dark matter, having an abstract entity, the beginning of the movement, collision, creating the explosions, sound, light, energy, life ... The human skull is a small piece of dark matter and energy, which is enough for one century (approximately 100 years). The motion of dark matter (Thoughts) is directed at finding ideas ...

Looking through the prism of ingneizma history and theory of art, which can not be separated from human life, we can confidently say that the Abstract is the beginning of all areas of fine art, and, to some, as is present in all directions.

Primitive man, with the help of various abstract lines, circles squares and tried to convey to others their idea ... According to the epistemological law "... the movement from the abstract to the concrete ...". The idea itself a creative process of finding and creating new ideas. Art appeared simultaneously with the appearance of man. It shows the Spirit of human being. Man, starting to create images or search for ideas, always begin to think abstractly, creating the idea or image, abstracting from the empirical visions of the world. Thus, the direction of abstraction nobody has created. This is the essence of man begins to think (write, draw, create), developing the idea through abstract thinking. With the advent of the first man on earth, appeared, and the art of receiving the development and direction. Abstract art, primitivism, Academic, impressionism, ingneizm - Spiritual Essence of the universe, the final direction in the fine arts (art), it represents all art forms in the universe. A new awareness of the universe and reveals the location and purpose of a man in the universe.

In the fine arts, idealization - the substitution of real empirical, idealized images, distraction from the real (... absolutely black, straight line, an ideal image), which is not exist in nature, are abstract concepts, such an image is idealized abstraction.

If an artist paints a portrait from life or something and not transfer actually what he sees empirically, and generalizes, such an image is called Synthesis of abstraction.

"Coarsening", a distraction from the uncertainty boundaries of the real forms in art, is an abstract constructivism. The real form (a concept in philosophy) - it is also an abstract concept. Since the universe does not exist forms, and form of matter determines consciousness, the human mind.

If artist puts its work accent on some colored sunspot or abstract form compels spectator involuntarily attention this that replaces plot or disclose idea works but compels spectator join in search ideas such image include Isolating Abstractions.

Primitive Sensual Abstraction - abstraction of some properties of the depicted object, images, or phenomena, highlighting their other properties or quality, present at the creation of any work, any direction, currents, etc.

[Маруся]

Сообщение от LCR; 908511"

great to let about Mondrian. Make the story?

I'm not sure if I can plot, but here found a very curious little article T. Goryacheva Malevich and Mondrian "
Part I (to test the public's interest) Illustrations: early, doabtraktnye work of Piet Mondrian

T. Goryachev. Malevich and Mondrian
Art 1992, № 1

Creative ways of Malevich and Mondrian, as is often paired in the context of thinking about the direction in geometric abstraction, in reality, fraught with the possibility of comparisons in many aspects. Coinciding in the general flow of artistic culture beginning of the twentieth century, these masters, nevertheless represent different possible geometric style, reflecting the specificity of individual origins, which in turn is dictated by the national-cultural continuity and the local artistic atmosphere.
The twentieth century in European culture marked by simultaneity of diverse artistic phenomena. Russia and the Netherlands rapidly assimilate and in a way transforming the advanced European ideas, remaining however within the national artistic tradition.
Omitting the details of public art biographies of Malevich and Mondrian, it is advisable to become the major milestones of their formation, those cultural phenomena that have played a major role in the treatment of non-figurative art in general and, in particular, to the geometric direction.
The decisive event that is destined for many years to the Mondrian aesthetic views and led to the creation of neplasticheskoy utopia was first acquaintance, and then the enthusiasm for Theosophy. It is a philosophical doctrine has become for him a school of ethical and aesthetic values and defines the range of interests and views of the artist. Calvinistic upbringing, largely explains the religious and philosophical education Mondrian and a penchant for logical statements and intellectualize outlook, interest in theosophy deduce the artist in the early 1900's on the path of mystical imagery in art, leaving aside the problem of the number of beautiful properties. Appeal to tradition, the symbolism becomes the only possible direction of his artistic search, it lacks the element of chance and makes it possible to combine the aesthetic intentions of the artist with the techniques of modern art. It was at this time formed the basis of artistic credo Mondrian - the dictates of the concept in relation to creativity, which leads to the creation arhitepicheskih images.

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In the work of Malevich in the early 1900's the predominant completely different orientations. Direction, loosen artistic thinking, to get acquainted not only with new painting techniques, but also with the whole system of art world, for Malevich, like many other Russian artists began to impressionism. Providential significance for the Russian impressionist paintings were due to traditional address of Russian art to the realm of the spirit. Primacy of public content on plastic problems characteristic of the XIX century, leads to a reduction value of painting. The emergence of Impressionism returns lost balance and attracts artists to the field of art. And although the Russian version of Impressionism is subject to national traditions, the inherent problem of art was first realized in principle and consistently against the positivism of the XIX century. Malevich finds impressionism on Stage, when, having lost the function of the radical method, it remains one of the most influential artistic movements.
Serving as the art of a certain phase of development, but not metered finally, Impressionism provoked their adepts and of yesterday's witnesses at the debate. Malevich, deliberately passed the stage of Impressionism, in 1910 finally put an end to this hobby, writing on the back of the canvas "Sisters": "... driven by a strong sense of Impressionist paintings (...) and to get rid of Impressionism, I wrote this canvas." Impressionism hardly had at the Mondrian significant influence in its formation, rather, in the representation of the artist, he remained in the same outdated over the last century, as well as academic naturalism, a dispute which represented the overcoming of artistic conservatism. In 1914, in a fit of frustration, he writes: "... I felt like I was still working as an impressionist, and express a certain feeling, not reality as it is." With respect to impressionism Mondrian is a certain predestination, dictated by the nature of the culture of the Netherlands, in cortex there was no contradiction between the spiritual essence of art and the plastic side. Outstanding Dutch painters to impressionism had no such effect pervootkrytiya actual painting, which noted his appearance on Russian soil. Thus, at the initial stage of the creative evolution of Malevich and Mondrian were at different starting points.
End of 1900-ies is to Malevich and Mondrian time the first serious approach to pan-European artistic process and overlap in interests. Mondrian's creativity in the years marked by touching postimpressionisticheskoy tradition that opens to his other face of artistic possibilities, and above all the fore work with color. Almost simultaneously with the color experiment begins to crystallize his acute attention to form. Nature studies, keeping already an established range of subjects (the tower, mill, trees) tend to be more structurally. Architectural motifs between 19,110-s are constant works of Mondrian, revealing his growing interest in the architectonic pattern enclosed in the objects of nature. In this case, Mondrian like to try on the concept of sustainable forms a divizionistskie technique, it fovistskoe understanding of color, exploring the opportunity to connect coloristic sonorities with architectural built. Fovistskaya open system color is subject to the dictates of the form. In general, the work of Mondrian's 1908 - 1911 years provide an opportunity to say the addition of archetypes, where architectural Colosse can guess the prototype of the future of rectangles, and the purity of the color of his impending certainty.
Malevich at this time is among the masters immediately responded to the latest innovations of European art - Fauvism and Cubism, which were showcased at the exhibitions "Golden Fleece". The first of his approach to cubism is correlated with the expression of the color of Fauvism and plastic systems and primitive iconography. In the cycle of the peasant he comes close to cubism and almost simultaneously with F. Leger creates a "cubist" works. However, the fascinated Russian primitivism, Malevich obeys the laws of its plastic statics in a while Leger declares: "... The purpose of my painting is the motion in the local color of volumes and emphasizing the movement of contrasts."
In the early 1910's and Malevich, and Mondrian are under the influence of the principles of Cubism and begin to transform them in accordance with its objectives and has already gained artistic experience. Individual characteristics of each of the masters of art intertwined with differences in the artistic atmosphere of Russia and France, in the end, both process and results of treatment to the cubism of Malevich and Mondrian acquire a different direction and color.
Malevich in the early 1910's, once in orbit attraction Futurism, works in several ways - the process of combining the principles of Cubism and Futurism, he carries out independently, fulfilling the picture in the spirit of Analytical Cubism and Futurism and synthesizing a loan these searches in a Cubo-Futurist works.
Meanwhile, Mondrian is in France in 1912, marked by expression of Michel Seyfora, "a celebration of Cubism in Paris, and is gaining momentum Cubism from the source. Becoming adept orthodox Cubism as a true nepho, he persistently engaged in a consistent expansion of the form, going through with all phases of the evolution of Cubism from its birth to maturity. Cubist Mondrian interesting not only as a set of formal methods, but primarily as a philosophy of relationships with in-kind artist.
By 1912, refers to a series of "Trees," where, by subjecting a plastic space laws, Mondrian comes to the centered scheme, a kind of abstract heraldry. Trees and architectural facades become for him at the e time most convenient plot motivation compound of Cubism with the idea of vertical and horizontal, as fundamental principles of the theosophical cosmogonic system. The choice of base motives, due to the tradition of "Cezanne's" cubist period coincides with the Mondrian with theosophical theories seeking deeper consciousness, the insights into the subjects. At the same commitment to the geometry of Cubism and theosophy, in the absence of the need to reconcile the plastic and philosophical contradictions laid the fruitfulness of searching for 1912 - 1914 period.
1913 - 1914 years to Malevich and Mondrian as passing through the latent period of the formation of the plastic characteristics and philosophical background of Suprematism and neoplastitsizma.

[Сима]

Сообщение от Maroussia

providential significance for the Russian impressionist paintings were due to traditional address of Russian art to the realm of the spirit. Primacy of public content on plastic problems characteristic of the XIX century, leads to a reduction value of painting. The emergence of Impressionism returns lost balance and attracts artists to the field of art.

Maroussia, at this point, I shot.

[fabosch]

Seema, simply was not strong editor who rewrote like this:
an inevitable impact on Russian Impressionist painting was due to traditional address of Russian art to the realm of the spirit. Highlighting the social content, which is characteristic of the XIX century, leads to a decrease in the value of art as such. The emergence of Impressionism returns lost balance and attracts artists to the field of art.
True, such correction is bordered infringe on copyrights, and in most cases will be met by the author of the text, to put it mildly, ambiguous.

[LCR]

Сообщение от fabosch; 1319901] Highlighting the social content, [COLOR="Red

characteristic[/COLOR] for the XIX century

And do not characteristic (it's me, as you know, for the Upper Rhine mschu )?